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SEMI-MONTHLY MAGAZINE
The Art of The Acrobat
Ihe Art ol Ihe Acrobat
arc but the needless accompaniments
of the essential privilege of the cir
cus — to present to us a succession
of acrobats with their bodies in per
fect condition, to exhibit to us that
I purely physical beauty which we are
ever in danger of overlooking or
i even forgetting. These acrobats,
i slim and handsome, as Muck' Finn
J found them, may display their daring
J and their grace, standing on a cir
I cling steed or swinging from a (lying
trapeze, revolving on a horizontal
bar or building themselves up into
human pyramids on the bark of the
j arena; but the way in which they may
choose to exhibit their skill and to
show themselves is unimportant.
While the Greeks had far more op
portunities than are vouchsafed to us
moderns to behold the human body
exhibiting its strength and its skill
in graceful play, we have the advan
tage that many of the most effective
, exercises are latterday inventions. It
seems unlikely that the Athenians
and the Spartans, even though they
were horsemen, had attained to the
art of bareback riding; they may
have bestraddled a saddleless steed,
but they had not learned how to
stand on his back and to turn sum
j mersets in time with the stride of
j the horse. It is, of course, possible
j that they were familiar with this,
but no sculpture "■■ and no vase-paint
ing, no anecdote in the works of the
prose-writers ; and no line of the' lyr
ists, survives to authorize us to be
! lieve it. And it is pretty certain
j also that they lacked the horizontal
bar, which affords limitless possi
bilities to the adventurous acrobat of
I; our own times. ■
The trapeze has a name of Greek
origin and it was possibly known to
the Greeks. But the Greeks did not
foresee the full possibilities' of the
trapeze, since its most, startling utili
zation, the feat known as i.the Flying
Trapeze, was invented by the 'French
acrobat Leotard, only ; a little ■ later
than the middle of the nineteenth
century. The Flying Trapeze is the
ultimate achievement of ; acrobatic
art, and it demands the utmost com
bination of skilful strength and of
easy grace. It was a feat ; that the
Greeks would have appreciated and
enjoyed; since it demanded and dis
closed the perfection *of physical
courage and of physical skill.
/GRACEFUL mastery of the trapeze
V* was the . most marked , characteris :
tic of Leotard; and it may be doubted
whether any of those who have fol
lowed the path he traced through the
air and who have vanquished difficul
ties beyond those which he con
quered, have been able to outdo him
in the i essential of grace. The over
coming of difficulty is one of the ele
ments of the pleasure which we take
in any art; part of our enjoyment of
a sonnet, for example, must be
ascribed to the apparent ease with
which the poet ■, is able to express his
thought amply and completely within
the ■ rigid limitations of his fourteen
lines with their prescribed : arrange
ment of five or six rhymes. But
our delight is diminished if we are
made conscious of the effort it has
cost the artist :to attain his aim.
Many of the later performers on the
Flying Trapeze let us see that ; the
feats they are attempting are so diffi
cult that they can not be accom
plished without obvious effort.
It happens | that the present writer
is able to bring his personal testi
mony to the fact that this was the
principle which always governed
Leotard himself. When the French
gymnast paid his only visit to the
United States, more than forty years
ago, .he used to practice in a gym
nasium which the writer also fre
quented. He spoke no English and
the writer had a little school-boy
French, so that a certain intimacy
sprang up. One day Leotard asked
the writer to swing a trapeze for
(Continued from Page 3 >
him and he sprang off and caught it
with a single hand, and as the sec
ond trapeze returned he twisted and
grasped the first trapeze again with
one hand. This evoked an immedi
ate exclamation of astonishment and
admiration at the startling conquest
of difficulty, and it was followed by
the natural question why so extraor
dinary a feat had never been ex
hibited in public.
"Don't you see the reason?" he
asked. "Watch me, while 1 do it
again."
He repeated the feat; and when it
was over he smiled and asked, "Do
you see now?"
The writer responded that he could
not help observing a certain awk
wardness in Leotard's movements, a
certain violence of effort, and a cer
tain lack of grace.
"That's just it," Leotard replied.
"The leaps from trapeze to trapeze
with the aid of one hand only must
be lopsided, since the body is inev
itably more or less twisted. There
is a sort of wrenching of the person
which can not be avoided, even if
it is ungraceful. That is why I have
never exhibited this feat in public,
difficult as it is. That is why I never
■ shall '■; exhibit ■ it, for the quality I
seek above all things is grace; which
is possible only when I can use both
hands, so that I can make what I do
seem easy, no matter how difficult
it may be."
It. was in the same winter that
Leotard was in New York about
forty years ago that the Hanion
Brothers, paid one of their welcome
visits to America. They were then
acrobats pure and simple, although
later when they called themselves
the Hanlon-Lees they had become
pantomimists. As acrobats they held
fast to the same principles which
governed Leotard in his perform
ances. They insisted upon certainty
of execution; they never failed to
perform the feat they set out to ac
complish, and to perform it success
fully, the first time they tried it.
The present writer was told at the
time that there were two or three
surprising and alluring feats which
the Hanlons had invented themselves
and which they practiced laboriously
and faithfully all that winter, but
which they wisely refrained from
'ii ever putting on their program be
cause they were never able to assure I
themselves of a uniformly successful
result. They could do any one of
these feats four times out of five, but •
the fifth time there would, be a mis
calculation of energy, and the at
* tempt would have to be repeated.
IIERE again the modern acrobat,
** who is guided by a real feeling
for his art, is in accord with the
principles which the Greeks obeyed.
In Attic tragedy, for example, there
are no scenes of violence, no scuffles
and no assassinations; and this is
not because the Greeks shrank from
scenes of blood, as some critics have
vainly contended, but rather because
the actors in their drama were raised
on thick boots and were topped by
towering masks, which made it al
most impossible for them to take
part in scenes of violence, in hand
to-hand struggles, in murders before
the eyes of the spectators, without
' danger of displacing the mask and
thereby distracting the attention of
the audience from the immediate pur
pose Qf the dramatic poet. What,
could not be done gracefully the
Greeks refrained from attempting.
The exhibition of difficulty for the
sake of difficulty, still more the fail
ure to accomplish a "stunt" for the
sake of calling attention to its diffi
culty— these things the Greeks ab
horred. They would surely have dis
approved of the continuous toe-danc
ing which evokes abundant applause
nowadays from spectators ignorant
of the true principles of the art of
the dance.
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